In 1940, King Vidor directed "The Lady in Question," marking the first of several collaborations with Rita Hayworth. In this early showcase, Hayworth played a woman accused of murder who, after her acquittal, moves in with the family of one of her jurors. The following year, Vidor directed "Ladies in Retirement," a gothic melodrama starring Ida Lupino as a maid whose devotion to her two unstable sisters (Elsa Lanchester and Edith Barrett) leads to murder. "New York Town" (1941), a romantic comedy, featured Fred MacMurray as a photographer who helps a newly arrived woman (Mary Martin) navigate the city’s eligible bachelors, only to fall in love with her himself. However, "The Tuttles of Tahiti" (1942), a comedy featuring Charles Laughton as the patriarch of a work-averse island family, was less successful. Vidor also directed the action-packed western "The Desperadoes" (1943), starring Glenn Ford, Randolph Scott, and Claire Trevor.
Vidor’s next major project was "Cover Girl" (1944), an elaborate musical starring Hayworth and Gene Kelly, with songs by Jerome Kern and Ira Gershwin. The film was a significant box-office success and solidified Vidor's reputation as a bankable director. He followed this with "Together Again" (1944), a popular romantic comedy featuring Charles Boyer and Irene Dunne. In "A Song to Remember" (1945), Cornel Wilde received an Academy Award nomination for his portrayal of Frédéric Chopin, with Merle Oberon delivering a surprisingly effective performance as George Sand. "Over 21" (1945), adapted from a Ruth Gordon play, was a humorous wartime farce starring Dunne, Alexander Knox, and Charles Coburn.
By this time, Vidor was primarily known for his work in comedies and musicals. However, "Gilda" (1946) marked a surprising departure. This film noir, featuring many of the genre’s trademarks—hard-boiled dialogue, menacing shadows (captured by cinematographer Rudolph Maté), sudden bursts of violence, and pervasive treachery—also introduced a daring level of eroticism. Hayworth, in her defining role as the femme fatale, delivered a memorable striptease to "Put the Blame on Mame," a scene that has become iconic. Ford and George Macready also gave noteworthy performances. "Gilda" was one of the year's biggest hits and remains widely regarded as a classic.
Despite this success, Vidor soon found himself at odds with Harry Cohn, the notoriously difficult studio head at Columbia. Seeking to break his contract, Vidor took Cohn to court, citing excessive profanity in the workplace. This move likely stemmed from Vidor's recent marriage to the daughter of Harry M. Warner, the head of Warner Brothers. Vidor ultimately lost the case and was compelled to return to Columbia. Cohn permitted him to produce and direct "The Loves of Carmen" (1948), another Hayworth and Ford pairing, though it failed to replicate the success of "Gilda."
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